Page 26 - Reginald and Lena Palmer Collection EXHIBITION, Bonhams London Oct 25 to November 2 2021
P. 26

Image courtesy of the Palace Museum, Beijing







           The present vase imitates the shape of archaic bronze vessels known  See a very similar blue and white zun vase with dragon and phoenix
           as zun. This archaistic trend has a long history and is rooted in   design, Wanli six-character mark and of the period, in the Qing Court
           Confucian ideas which perceived the ancient past, namely the early   Collection, illustrated in The Complete Collection of Treasures of the
           Zhou period, as a golden age of moral uprightness. Thus, scholars   Palace Museum: Blue and White Porcelain with Underglaze Red
           and Emperors across the centuries desired objects which emulated   (II), Hong Kong, 2000, p.182, no.171. Another very similar blue and
           archaic bronzes. See for example, a cloisonné enamel vase, early   white vase with the same design, Wanli six-character mark and of the
           Ming dynasty, in the Qing Court Collection, illustrated in Compendium  period, is in the Shanghai Museum, illustrated by Wang Qingzheng,
           of Collections in the Palace Museum: Enamels, 1, Beijing, 2011,   Underglaze Blue and Red, Hong Kong, 1993, pl.137. Another in the
           pp.84-85, no.19.                                  John Gardner Coolidge collection in the Museum of Fine Arts, Boston,
                                                             is illustrated in Oriental Ceramics: The World’s Great Collection, vol.10,
           The wave of enthusiasm for archaism reached the Court itself where   Tokyo, 1980, pl.239. See also a related blue and white vase of the
           it was adopted and adapted. The present vase for example is   same archaistic zun shape, but decorated with figures around the
           decorated with typical Courtly motifs such as the five-clawed dragon   central section, Wanli six-character mark and of the period, in the
           and phoenix, representing the Emperor and Empress. The neck is   Yamato Bunkakan Museum, Japan, illustrated in Mayuyama, Seventy
           painted with peony shrubs issuing from gnarled rockwork. The peony  Years, vol.1, Tokyo, 1976, p.313, no.933.
           itself became a symbol of riches and prosperity. The foot painted
           with wispy ruyi-clouds imitating auspicious lingzhi fungi also contains
           blessings for longevity.













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